Sources
74. Madama Butterfly

74.B.2 *

There was no opportunity to examine this score (here designated as 74.B.2) prior to the publication of Schickling 1998a, where what is called “B.2” is now designated as 74.B.3.

Autograph changes in a proof copy of 74.E.1 (lacking the front matter). On all leaves there is the stamp “Non pubblicato / bozza di stampa [Unpub- lished / Printed proof]”.
The copy contains numerous autograph entries with pencil as well as blue and orange grease pencil, mainly concerning expression marks, but also indicating some smaller musical and textual corrections.

The musical and textual changes were implemented in 74.E.1, but not the changes of expression marks. It seems, therefore, that Puccini used this copy prior to the rehearsals of the first performance, perhaps during some of his own sessions with the conductor Campanini. Furthermore, it is possible that the addition of expression marks in this proof — quite different than the more significant indications of changes of the tessitura and text — only served to clarify some passages, without Puccini wanting them to be entered in the printed edition.
The only other conspicuous revision is the cut of 3 bars (old fig. 104-5/3) in the intermezzo in Act 2, which Puccini subsequently altered repeatedly.
In any case, Puccini must have used this proof earlier than 74.B.3, since it does not yet contain the far more extensive modifications contained in that copy of the score. So the changes in 74.B.2 still may have been made before the end of 1903.

74.B.3 *

In Schickling 1998a, this score is still designated as “B.2” (for the reason for this change, see the preceding footnote).

Autograph changes in a proof copy of 74.E.1 (lacking the title page). The rectos of all leaves are stamped “Non pubblicato / bozza di stampa [Unpublished / Printed proof]”. On the first page, there is the autograph dedication: “All’amico Vandini / con affetto / GPuccini / 19.2.[1]904 milano.”

The copy contains several copyist’s corrections which probably pertain to the printing of 74.E.1. In addition, there are numerous autograph changes that Puccini made in Act 1 with pencil, in Act 2 with pencil, ink, and blue grease pencil; so they were apparently made in various stages.
That Puccini used a proof of 74.E.1 as a working copy for these changes raises the possibility that they were implemented in January 1904 at the latest, before the published edition was available. In order to keep track of these changes and his thoughts for further revisions, he possibly continued using this proof during the rehearsals for the first performance.
It is not clear if the dedicatee was Guido Vandini of Lucca or his brother Alfredo in Rome, but it is very unlikely that either Vandini ever received this score. In any event, decades later it was in the possession of the Puccini family prior to being in I-Baf (since 1945).
Although Puccini inscribed the dedication two days after the first performance, he may have retained this score to use for subsequent revisions, since it documented so many important changes. Specifically, it contains the following more important modifications, all but one of which are in Puccini’s hand:Note: *See also Schickling 1998a. 

Act 1:

Act 2, part I:

Act 2, part II:

Some of these changes may have been implemented in the first performance. While they represent the start of Puccini’s revisions of the original version, they are minor compared to the changes published in 74.E.2.

74.B.4

Last at Sotheby’s auction, New York, 17/18 June 1992 (catalogue No. 308).

Autograph entries in a copy of 74.E.1 (BS 2.04) which bears an undated autograph dedication to Alfredo Caselli.

All of the entries occur at the beginning of Act 2, Part II. They probably represent Puccini’s first ideas for changes immediately after the first performance. They were only partially realized in this form and presumably dated from February 1904. Puccini began by marking the division between the two parts of the original Act 2 (old fig. 92-6). Apart from some less important remarks on pp. 336-343, there are cuts in the orchestral intermezzo of 12 bars (after fig. 5-4) and 21 bars (from old fig. 100-4); the second cut corresponds to the one contained in 74.B.3.

74.B.5

Autograph entries in a copy of 74.E.7, with the blind stamp of “3.08.”
At the bottom of the cover (in Puccini’s hand?), there is the indication: “Acc[omodi]. fatti / p[er] T[ea]tro / Carcano”; at the top, in a different handwriting: “Accomodi [Corrections] Carcano / Sig. M° Tenaglia / 15 / 1[?] / [1]920”; and on a slip of paper inserted in the score (in a different handwriting): “Accomodi del Mo Puccini per il Teatro Carcano.”

Puccini’s autograph entries exclusively concern matters pertaining to the staging (details of directions, lighting, etc.). They appear to have been entered in this score for an earlier performance.
Act 1 includes three passages in a copyist’s hand which may have been written by the same “Sig. Mo Tenaglia”.Note: *Raffaele Tenaglia began working for RIcordi in 1913: from 1941 to 1962, he was the director of the Ricordi archives and the printing office (“ufficio riproduzioni”); see the Enciclopedia della musica (Milan: Ricordi, 1964), vol. IV, p. 368. The three inserted passages result in the following changes (see also Schickling 1998a and NOTES):

1. The last four bars are cut on p. 68, then on 6 pages, there is the insertion of 45 bars (old fig. 50- 1 – old fig. 54+5), resuming with p. 69. This reinstated passage restores the presentation of Butterfly’s relatives deleted in 74.E.5. The cut of 4 bars for orchestra (old fig. 53+5/8) may have been a copyist’s error.
2. After p. 108, there is the insertion of 63 bars on 11 pages (old fig. 92 – old fig. 99+2), then p. 109 is glued to the insert, resuming with p. 110. This insert revokes the deletion made in 74.E.5 of Yakusidé’s drinking scene, but it preserves the cut of the 21/2 bars (fig. 92+2/4) as in 74.E.2.
3. The last three bars are cut on p. 144, then on 6 pages, there is the insertion of 39 bars (old fig. 124 – old fig. 126+3), resuming with p. 145. This insert revokes the deletion made in 74.E.5 of Butterfly’s comment about barbaric American men in the final duet (with one orchestral bar, old fig. 125-1, cut).

74.D.10

74.D.11

74.D.12

74.D.13

74.D.14

74.D.15

Also available in Bögel 1978, Anlage 5. 

74.D.16

Also available in Musica e musicisti of 15 June 1903, p. 476.

74.D.17

74.D.18

74.D.19

74.D.2

74.D.20

74.D.21

74.D.22

74.D.23

74.D.24

74.D.3

74.D.4

74.D.5

74.D.6

74.D.7

74.D.8

74.D.9

74.E.1a

Madama Butterfly (1a versione, 1904). Revisione a cura di J[ulian]. Smith. [Full score]. Copyright 1904, 1907 and 1981 (per la revisone sugli autografi di J. Smith).
Ricordi, Milan, 1983.
PN 111378 (for the pages from 74.E.7b) and MI-1904 (for the new pages, handwritten and photocopied, or made from 74.E.7b). 383 pages (actually 489 pages, since there are 106 pages with additional letters). 2°.
Available only on rental (as are the instrumental parts).

This edition endeavours to reconstruct the original version, which is only possible to do in a limited way, because some pages of the autograph score have been missing ever since Puccini revised the opera after the first performance. Therefore, Julian Smith had to provide the orchestration for some passages which were only known from the first edition of the piano-vocal score (74.E.1). However, this edition did not correct the pages used from 74.E.7b in accordance to 74.E.1 with regard to numerous details of expression marks, metronome indications, changes in the voice parts, and textual variants. Furthermore, there is no explanation of the editor’s decisions. Even in a few essential changes of the text in the later versions (i.e. in the aria “Che tua madre” and in the dialogue of Butterfly and Sharpless near the end of the opera), the original state was not reconstructed. Also, the insertion of Pinkerton’s five original bars before fig. 10 in Act 1 (“Nomi di scherno ...”) was obviously forgotten.
In all, the edition (which is far from Ricordi’s usual standards in terms of printing) creates the impression of a work in progress — more like an editor’s first working copy. The text is lacking in many places, and at other junctures there is only an English translation of the text.
In 1995, Michael Kaye produced a more correct “Performing Edition”, based on Julian Smith’s edition, for the first CD recording of Puccini’s “original version” (see Kaye 1996). However, it could not include the findings in the recently recovered sources (see 74.B.3 and Schickling 1998a) which have a direct bearing on what was probably performed at the La Scala première; so the edition does not represent the actual version of the first performance.

74.E.2

Second Italian edition: Nuova edizione.
New Edition Copyright 1904.
Ricordi, Milan etc., 1904.
PN 110000, 399 pages, 4°.

Registered at the Prefettura di Milano on 7 May 1904 (I-Rsc 105.B.19).

The edition was produced for the second performance on 28 May 1904 in Brescia and, according to the blind stamps and the registration dates, was already published that April; it was announced in Musica e musicisti of 15 April 1904 (in the advertisement section) as a new edition. According to MRK, printing of the sales copies began on 9 May 1904. Obviously, the Brescia performance had additional cuts, however not all of them figured in 74.E.2 (see Schickling 1998a and NOTES).

There are the following differences from 74.E.1:

74.E.3

First English edition:
Madam Butterfly. A Japanese Tragedy ... English Version by R. H. Elkin ... Copyright 1906.
Ricordi, London etc., 1906.
PN 111200, 279 pages, 4°.

English and Italian text.

Registered at the Prefettura di Milano on 17 June 1906 (I-Rsc 107.C.42).

The edition certainly was produced for the first performances of the opera sung in English presented by the Henry Savage Grand Opera Company in the USA, starting on 15 October 1906 at Washington, DC (for the relevant reports, see Kaye 1996, pp. XXII-XXIV). The contract with Savage’s company was already concluded at the beginning of 1906 (see Carteggi 1958 No. 464) which probably resulted in the production of this edition, which (according to MRL) began on 22 January 1906. It was probably ready by the end of May of that year (see the blind stamps and registration dates). In MRK, 25 July 1906 is recorded as the first printing date for the sales copies.Note: *These facts disprove the common assertion that the edition had already been produced for the first performance in England at Covent Garden on 10 July 1905 (in Italian).  Since this edition contains no rehearsal numbers, it probably was specifically intended for public sale in the English speaking countries, and a second English edition with such numbers suitable for the rehearsal work (74.E.4) would follow shortly after.Note: *Because of the extensive cuts and revisions made in the score since the publication of the first edition (74.E.1), it is also possible that Ricordi intended to introduce a completely new system of rehearsal numbers. However, this did not materialize. Probably for the same reason, the first French edition was published in the same year without rehearsal numbers; only the later copies of the second French edition contain rehearsal numbers (see 74.E.5 and 74.E.6). 

There are the following differences from 74.E.2:

1. In general
   The edition again corrects a lot of indications of expression, tempo, and dynamics, as well as occasionally the part-writing. Pinkerton, who in 74.E.1 and 74.E.2 had the Christian names Francis Blummy, is now called B[enjamin]. F[ranklin]. according to John Luther Long’s model (for this, see also Hopkinson 1968, pp. 73-74).

2. Major differences (the rehearsal numbers refer to 74.E.2):
   
   Act 1:

   fig. 68+5 – fig. 72:	38 bars (“Ah! hu!” through “Hanako”) were cut.
   fig. 84-1 – fig. 85+1:	11 bars with the interruption of the wedding ceremony were cut.

   
   
   Act 2, Part I:
   

   After fig. 72-3:	2 bars were cut.
   fig. 73 – fig. 74+6:	26 bars of Butterfly’s part (“Sfrondo tutto il giardin” through “nell’anima mia”) were cut, and, due to the context of the transition, “Va pei fior!” was inserted in fig. 75-5/4.
   fig. 85+3 – fig. 86+10:	22 bars of the dialogue between Butterfly and Suzuki (“Che ne diranno ora i parenti!” through “le comari con Goro. Ferma”) were cut.
   fig. 87-1 – fig. 88:	20 bars for Butterfly and Suzuki were cut (“Cara faccia pensosa” through “Ecco l’obi nuzial”).

   
   
   Act 2, Part II:
   

   fig. 41-4 – fig. 43:	36 bars for Sharpless and Butterfly were cut (“L’amico mio” through “fra mezz’ora salite la collina”).
   fig. 47+7 – fig. 49-10:	23 bars for orchestra and Butterfly (“Ieri m’hai detto” through “Butter- fly riposerà”) were cut and Suzuki’s protest moved accordingly.

At least some of the cuts in this edition had been tried out in previous performances in Italy (see Schickling 1998a). The cuts in Act 2 are by far more extensive than in the previous edition (totaling about 130 bars); in Act 1, once again, about 50 bars were omitted, so that in terms of overall deletions both acts had been shortened approximately to the same extent compared to the first edition.

74.E.4

Second English edition:
Copyright 1906.
Ricordi, London etc., 1906.
PN 111200, 279 pages (+ pp. 214bis and 215bis), 4°.

English and Italian text.

Hopkinson 1968 erroneously classified this edition as belonging to what he thought was the latest published version of the piano-vocal score, i.e. 74.E.5 and all the following editions. However, all editions from 74.E.6 have the copyright date of 1907, whereas 74.E.4, like 74.E.3 and 74.E.5, were copyrighted in 1906. So 74.E.4 must have been published earlier than 74.E.6. A still more precise dating is possible from the musical and textual contents: the edition was printed from the same plates as 74.E.3, however it has rehearsal numbers and, compared with 74.E.3, contains only one musical change (see below), while all the other changes of the first French edition (74.E.5) are missing. Therefore, it can be determined that the edition was produced before the beginning of the work for 74.E.5, i.e. in June/July 1906. According to MRK, the first printing date could have been 30 November 1906. It is also true though that, probably for economical reasons, Ricordi continued distributing copies of 74.E.3; see the relative blind stamps.
At least the three known copies of 74.E.4 have very late blind stamps, which means that this edition obviously was the last English edition during Puccini’s lifetime and that the further extensive changes of 74.E.5, 74.E.6 and 74.E.7 were not incorporated in an English edition for more than twenty years.

There is the following difference from 74.E.3:

Act 2, Part I:

In order to avoid a new printing of the pages following this insertion, only pages 214 and 215 were newly engraved and two new pages added, so that the sequence of pages reads: 214, 215, 214^bis, 215^bis, 216 etc.

74.E.5

First French edition:
Madame Butterfly (d’après John L. Long et David Belasco). Drame lyrique en trois actes ... Traduction française de M. Paul Ferrier ...
Copyright 1906.
Ricordi, Milan etc., 1906.
PN 111360, 248 pages, 4°.

The edition was produced for the first French performance scheduled for autumn 1906 (which was ultimately postponed until 28 December). It contains important changes partly proposed by Albert Carré, the director of the Paris Opéra-Comique. Puccini discussed these changes with Carré in the middle of July 1906 in Paris (see Smith 1980, p. 230), and on 13 August Puccini delivered the new version to Ricordi, where the engraving of the piano-vocal score began on 16 August, according to MRL. The revised scene with Kate Pinkerton was supplied later (on 30 August) and given to the engraving department without Puccini having ever been shown a proof of it (see Smith 1980, pp. 231-32). According to the earliest known blind stamps and the registration dates, this edition was ready by the end of September 1906. However, according to MRK, the sales copies were printed only from 8 November. The edition has no rehearsal numbers; for a probable explanation, see 74.E.3.

There are the following differences from 74.E.4:

1. In general
   The edition was obviously produced in great haste, and bears numerous differences in the expression marks, which sometimes appear to be publisher’s errors and not deliberate changes. For the first time in print, the previous two parts of Act 2 are now explicitly designated as Act 2 and Act 3.Note: Up to now, this nomenclature differs in the various Ricordi editions. It should, however, be noted that Puccini always only spoke about the opera in terms of two acts, with the second divided into two parts.Now for the first time, in the sung text of the opera Pinkerton was called by his correct full Christian name “Benjamin Franklin”; however, in the list of characters in the front matter he remained as “F.B.” (as it also still appears in 74.E.6). 

2. Major differences (rehearsal numbers partially from 74.E.2)
   
   Act 1:
   

   fig. 9+5/9:	5 bars for Pinkerton (“Nomi di scherno o scherzo. Io li chiamerò: musi! Muso primo, secondo e muso terzo”) were cut.
   After fig. 49+9:	48 bars (old fig. 50 – fig. 54+2, from “Ma ho degli altri parenti” through “Per quel che me ne fo!” + orchestral postlude) were cut.
   After fig. 55+11:	34 bars (old fig. 56 – fig. 59, from “Qua i tre musi” through “della Nipponerìa” + orchestral postlude) were cut and 2 new bars for orchestra were inserted.
   fig. 61+1/17:	Pinkerton’s part was cut, but the rest of the music remained the same.
   From fig. 65:	The 60 bars which still remained between old fig. 65 and fig. 73 after the cuts in 74.E.2 and 74.E.3 (from “Mia madre” through “Dio, come son sciocchi!” + orchestral postlude) were cut.
   fig. 81-6/+1:	The music remained unchanged, but there are very important changes in Butterfly’s text (“Nella stessa chiesetta ...” instead of “Per me spendeste cento yen ...”).
   fig. 81+2:	1 bar for orchestra was cut.
   From fig. 92:	Extension of the former 4 bars fig. 92+1/4 and cut of the following 54 bars (i.e. the rest of Yakusidé’s drinking scene up to old fig. 99 already shortened in 74.E.2).
   After fig. 123+12:	36 bars of the love duet were cut (old fig. 124 – fig. 126 in 74.E.2, old fig. 131 – fig. 133 in 74.E.1, from “Pensavo: se qualcuno mi volesse” through “E poi? Racconta.”).

   
   

   Act 2:
   

   After fig. 83+4:

   9 bars for Butterfly and Suzuki (from “Suzuki, fammi bella” through “chissà! chissà!”) were cut.

   
   

   Act 3:
   

   After fig. 31+11:	3 bars for orchestra were cut.
   fig. 33+15/22:	Text changes to prepare the new version of the encounter between Kate and Butterfly.
   fig. 37+6 – fig. 39+5:	While the music remains nearly the same, there are important changes of text and its distribution, particularly concerning Kate Pinkerton’s part and position (see Hopkinson 1968, p. 72).
   After fig. 47+6:	25 bars for Suzuki and Butterfly (from “Non vi voglio lasciar” through “fuor che la morte”) were cut.
   After fig. 50+4:	The repetition of the preceding 4 bars for orchestra was cut.

    

74.E.6

Second French edition:
Copyright 1906, New Edition Copyright 1907.
Ricordi, Milan etc., 1907.
PN 111360, 248 pages, 4°.

The edition contains additional changes made in 74.E.5 during the Paris rehearsals in autumn 1906; only the later copies contain rehearsal numbers. Those changes particularly reflect Carré’s staging of the opera, the details of which have been preserved in a libretto in the Bibliothèque de l’Association de la Régie Théâtrale in Paris.Note: *Call number M 36 IV; see H. Robert Cohen and Marie-Odile Gigou, Cent ans de mise en scène lyrique en France (New York, Pendragon, 1986), 146.  Hopkinson’s assertion (Hopkinson 1968, p. 27) that these changes “were purely textual and not musical” is incorrect. But even the textual changes are so important that the edition cannot be regarded simply as a variant of 74.E.5, rather it has its own distinctive character. (Later copies of the edition also partially adopted the changes of 74.E.7.)
Puccini finished his revisions in Paris by the end of November (see Epistolario 1982, No. 93, certainly of 25 November 1906). However, the edition was published some time after the Paris performance, i.e. in February 1907; MRK records 12 March 1907 as the first printing date for this new French edition (“Nuova Edizione”). It is difficult to determine to what extent it really agrees with the Paris performance. In any case, apart from the cuts in the printed editions, Butterfly’s “Là un bravo giudice” passage (ca. fig. 35-4 – fig. 36 in Act 2) was cut in those performances and also indicated as a cut in the libretto documenting the mise en scène mentioned above;Note: *This cut was obviously retained as customary in Paris, since it is indicated in the old instrumental parts of the Opèra-Comique (F-Pn, MAT.F.451) and was perhaps already implemented in 1906. According to certain entries, this performance material was still used after World War II.  see also Kaye 1996, XX.

There are the following differences from 74.E.5:

1. In general
   Numerous stage directions and formulations of the French text were changed, as well as several expression marks (partially according to the two preceding English editions 74.E.3 and 74.E.4), which had been overlooked in the first French edition (74.E.5) perhaps due to the haste of its production.
   
   
2. Major differences
   
   Act 1:
   

   Before fig. 126:

   1 bar for orchestra (fig. 124+1 in 74.E.4) was cut; in 74.E.5 it was perhaps only erroneously retained.

   
   
   Act 2: 
   

   fig. 21+1:	Sharpless’ word “Non!” was cut.
   fig. 37-5:	Sharpless’ vocal entrance is 1 bar later.
   fig. 55 – fig. 58-6:	While preserving the music, large changes of text were made in Butter- fly’s aria “Che tua madre”, resulting in a completely new content and concept (see Kaye 1996, pp. 154-58).
   fig. 58-1:	Sharpless’ words “Vien sera” were cut.

   
   
   Act 3:
   

   fig. 37+6 – fig. 39+5:

   While the music remains nearly identical, the dialogue between Butterfly and Sharpless and the distribution of the text was changed again (see Hopkinson 1968, p. 72).

   
   
   

74.E.7

Third Italian edition:
Copyright 1907.
Ricordi, Milan etc., 1907.
PN 111000, 363 pages, 4°.

The edition was obviously intended by Ricordi to establish a definitive piano-vocal score of the opera based on Puccini’s experiences with Carré’s production at the Opéra-Comique. Although, according to the earliest blind stamps, it was published in April 1907 and the printing of the sales copies was recorded in MRK only from 25 July 1907, this edition probably already served as the basis for the New York première on 11 February 1907, thus realizing the current state of Puccini’s intentions.

There are the following differences from 74.E.6:

1. In general
   This edition corrects several expression marks, as well as indications of tempo and dynamics for which it partially reverts to earlier versions going all the way back to 74.E.1. In addition, some of the vocal parts were changed. In certain cases it is particularly difficult to decide if some of them were due to publishers’s errors or if the modifications made in the English and French editions had been deliberately cancelled, especially since there are also discrepancies with the printed full score (74.E.7b), which was finished around the same time.

2. Major differences
   
   Act 1:
   

   From fig. 39+2:	A third soprano voice was added in the chorus.
   fig. 61+1/17:	The changes in 74.E.5 and 74.E.6 were revoked.

   
   
   Act 2, Part I:
   

   fig. 37-5:

   The changes in 74.E.6 were revoked.

   
   
   Act 2, Part II:
   

   fig. 38-2 – fig. 39:	Text and its distribution in the dialogue between Butterfly and Sharpless was newly revised (see Hopkinson 1968, p. 72).
   Before fig. 40-5:	6 bars for Butterfly and Kate (“Mi piacerebbe pur” through “Andate adesso”) were cut.

74.E.7a

First German edition:
Die kleine Frau Schmetterling (Madame Butterfly). Tragödie einer Japanerin ... Deutsch von Alfred Brüggemann ... (later also without subtitle).
Copyright 1907.
Ricordi, Milan etc., 1907.
PN 111376, 263 pages, 4°.

This edition was produced for the first German performance on 27 September 1907 in Berlin. According to MRL, the production already began exactly one year before, on 27 September 1906. MRK records 30 June 1907 as the first date of printing. Perhaps this is the reason why some of the expression marks in this edition do not agree with the new Italian edition 74.E.7 (with which it generally agrees in terms of overall musical content), but resembles 74.E.4, the most recent version at the time of its production; so these inconsistencies remained (the most serious of which is the residual bar after fig. 81+1 in Act 1, cut from 74.E.5 onwards).

74.E.7b

Partitura [lacking the title page].
Copyright 1907.
Ricordi, Milan, 1907.
PN 111378, 368 pages, 2°.

There is also a partial additional (probably the original) pagination, proving that originally more pages for this edition had been engraved: at least 395 in all (see Smith 1980 and Schickling 1998a).

Registered at the Prefettura di Milano ono 3 July 1907 (I-Rsc 101.G.51-53).

According to MRL, the engraving began on 29 September 1906. Ricordi had already confirmed the receipt of Act 1 on 30 June (see MRC 1905/06 - 19/329, 480). Because of the new changes connected with the Paris staging (see 74.E.5, 74.E.6, 74.E.7, and NOTES), the completion was delayed until June 1907; see the registration dates of the copies in I-Rsc and US-Wc.
This full score contains numerous corrections of details, compared to 74.E.7.

74.E.7c

First Spanish edition:
Madama Butterfly de John L. Long y David Belasco. Tragedia japonesa de L. Illica y G. Giacosa. Musica de Jacobo Puccini.
Copyright 1907.
Ricordi, Milan etc., 1907.
PN 111932, 246 pages, 4°.

No translator is mentioned, but MRL gives “J. Z.” (José Zaldívar).
Registered at the Prefettura di Milano on 26 October 1907 (I-Rsc 104.F.34).

The first Spanish performance took place on 4 August 1907 in Barcelona (see Loewenberg, p. 656), followed by a second on 20 November of the same year in Madrid (in Italian). This edition, the production of which according to MRL began on 10 June 1907, was certainly intended as sales copies in Spain and Spanish speaking countries. According to MRK, the printing of those copies began on 8 January 1908.
This edition generally follows 74.E.7 but does not adopt all of its changes in details of musical expression; in this respect it is rather closer to the state of 74.E.5.

74.E.7d

Partitura d’Orchestra ridotta.
Copyright 1911.
Ricordi, Milan etc., 1911.
PN 112649, 336 pages, 2°.

Orchestra: 2 Flutes (the second also Piccolo), 1 Oboe, 2 Clarinets, 1 Bassoon, 2 Horns, 2 Trumpets (or 2 Cornets), 1 Trombone, Timpani, Bass Drum, Cymbals, Triangle, Drum, Glockenspiel, Japanese Tam-tams, Strings.

This reduced orchestration was made by the conductor Ettore Panizza. According to MRL, production of this edition already began on 3 September 1909. The only other reduced orchestration of a Puccini opera for smaller theatres produced in Puccini’s life time was published for La Fanciulla del West (also by Panizza); see 78.E.3b.

74.E.7e

Madama Butterfly (da John L. Long e David Belasco). Tragedia giapponese di L. Illica e G. Giacosa. Musica di Giacomo Puccini. Partitura d’orchestra.
Copyright 1920.
Ricordi, Milan, 1920.
PN 118378, 487 pages, 8°.

Italian and German text.

According to MRL, the production of this edition began in July 1919. Its publication was announced in Musica d’oggi of November 1920, p. 315. Except for a few corrections of details, it agrees with 74.E.7b
This is the very first edition of the full score of the opera offered for sale to the public. Conspicuously, it not only has the Italian text (like all of the other octavo full score editions of Puccini’s operas), but also a singable German translation. The critical commentary to 74.E.8c explains this fact by asserting that the first printing was carried out in Germany. Actually, MRK records printing (i.e. in Ricordi’s Milan printing department) only from 29 February 1924.

74.E.7f

Third English edition:
Copyright 1907.
Ricordi, New York etc., 1935 (?).
PN 111200, 266 pages, 4°.

English and Italian text.

This edition was certainly only published posthumously. MRK, without any further indications, records a “revisione” in January 1935, presumably the date of production. Many copies bear the copyright date of 1905 (mentioned in MRK on 30 November 1939), which appears in no other edition and refers to the date of the original English translation. Although this edition follows 74.E.7 in general, it retains some passages of the obsolete version of the first English edition, which may just be due to carelessnesses in proofreading. So in the chorus of Act 1 (from fig. 39) the third soprano voice is missing; the part-writing at the end of Act 1 (before fig. 136) has not been corrected, and Butterfly’s words at the encounter with Kate (Act 3 before fig. 34) still are “Chi siete? Perchè veniste?”

74.E.7g

First (?) Russian edition:
Madam Bjetterflaj (Tscho-Tscho-San). Opera w 2 djejstwijach, 3 kartinach ... Pjerjewod Saslushjenn. artista Rjesitscholiki W. S. Aleksjejewa.
Musgis, Ljeningradaskoje Otljeljenije, 1938.
PN L 853 0, 355 pages, 4°.

Russian and Italian text.

This edition reproduces (nearly correctly) the version of 74.E.7 and does not take note of the corrections in 74.E.7e. This could mean that it is another version of an unknown earlier Russian edition which could have been created on the occasion of the first performance in Russia, in 1908 in Odessa (see Loewenberg 1943, p. 656). In some ways it is quite independent, differing from all other editions: it uses its own continuous rehearsal numbers, thus avoiding the jump of numbers in 74.E.2 and the following editions. It could be suspected therefore that this piano-vocal score was connected with the production of particular sets of performance material for performances in Russia and the Soviet Union to evade Ricordi’s legal rights to the opera and in violation of international copyright regulations.

There were further Russian editions with slight changes, but they all used the same translation. One of those scores (in I-Lgp) was published in 1964 by Isdatjelwstwo Musyka, PN 29671, 279 pages, 4°.

74.E.8

Fourth English edition: Madame Butterfly ...
New English Version by Ruth & Thomas Martin.
Copyright 1907, 1954.
Ricordi, New York, 1954.
PN 129166 (originally N.Y.1708), 266 pages, 4°.

English and Italian text.

Ricordi’s main reason for this edition was the publication of a new English translation (first with a plate number of its North American subsidiary, Franco Colombo; then, from 1956, with its own plate number). It also provided the opportunity to revise the plates to produce for the first time a piano-vocal score agreeing to a large extent with the full score of 1920 (74.E.7e). So in this edition, some passages of the last Italian piano-vocal score (74.E.7, already published in 1907) were corrected.

74.E.8a

Fourth Italian edition:
Tragedia giapponese in due atti ... Partitura (nuova edizione riveduta e corretta). Copyright 1907.
Ricordi, Milan etc., 1955.
PN P.R.112, 483 pages, 4°.

Italian and German text.

The edition is nearly completely printed from the plates of 74.E.7e. It contains a few minor differences compared to 74.E.7e for which no reasons are given by the publisher and which are not very plausible.

74.E.8b

Piano-vocal score of the fourth Italian edition 74.E.8a:
Madama Butterfly. Tragedia giapponese in tre atti di Luigi Illica e Giuseppe Giacosa (da John L. Long e David Belasco) ... A cura di Mario Parenti (1964).
Copyright 1907.
Ricordi, Milan, 1964.
PN 110000, 363 pages, 4°.

The edition adopts the corrections that were already contained in 74.E.8, adding, however, some minor changes which partially agree with 74.E.8a.
Hopkinson’s assertion that this is an identical reprint of 74.E.7 is not accurate (see Hopkinson 1968).

74.E.8c

Second German edition:
Madame Butterfly. Japanische Tragödie ... Neue deutsche Übertragung von Hans Hartleb ... Nach dem Autograph der Partitur revidiert von Michelangelo Abbado (1966). Copyright 1966.
Ricordi, Munich, 1966.
PN Fr.2017, XXXVII pages of front matter, introduction, and critical notes + 241 pages of music, 4°.

German and Italian text.

The edition, which erroneously suggests in its critical commentary that 74.E.2 was the first edition, reports certain differences from the autograph score (74.B.1) but virtually ignores the question: when were the innumerable changes made? In general, this edition follows 74.E.8b. In several passages, the piano accompaniment has been altered from the traditional piano reduction to reproduce the music more exactly at the keyboard.

74.E.8d

Third German edition:
Madama Butterfly ... Japanische Tragödie in drei Akten ... Hrsg. von Hans Heinrich Schmitz. Deutsche Übertragung von Joachim Herz und Klaus Schlegel ...
Peters, Leipzig, 1975.
PN E.P.12787. XV pages of front matter and introduction + 252 pages of music, 4°. 

German and Italian text.

This is one of the few editions published apart from Ricordi that is more than just a pirated edition. Apart from the piano reduction, which the editor has occasionally altered, it generally agrees with 74.E.8c.
There is another edition of this score that utilized the same plates, with different German text by Harry Kupfer and Eberhard Steindorf, published in Berlin in 1975 by Henschel-verlag.

74.E.8e

Fifth English edition:
Madame Butterfly. Opera in three acts. Founded on the book by John L. Long and the drama by David Belasco. Italian Libretto by Luigi Illica and Giuseppe Giacosa. New English version by Ruth & Thomas Martin.
Copyright 1907, 1954.
Ricordi, Milan, Ristampa 1988.
PN 129166, 266 pages, 4°. 

English and Italian text.

This is a corrected version of 74.E.8, according to the revisions of 74.E.8b and 74.E.8c, which however have not been implemented consistently. In some passages there are still even older versions, some of which are clearly publisher’s errors — particularly pp. 223–224 where the curtain rises twice for Act 3. 
Rescigno 1982 gives a very extensive interpretive analysis of this edition as compared to the first edition (74.E.1), but he only partially considered the intermediate stages of the evolution of the score.